A comic from Spain that's aimed at a wide audience

Diari ARA wrote about a biographical comic developed by a Spanish writer and Argentinian illustrator that's meant to be for everybody:

The Comanegra publishing house publishes Gaudí, the Sagrada Familia and ecstasy, a hybrid format between comic and illustrated book signed by the Madrid-based screenwriter Salva Rubio and the Argentinian illustrator Agustín Comotto that arrives simultaneously in Catalan, Spanish and English: a historic milestone for the Barcelona-based publisher, which had never before published simultaneously in three languages.

The project stems from Comanegra's fruitful relationship with Comotto—they had previously collaborated on a comic about Joan Salvat-Papasseit—and from a recommendation by illustrator Oriol Malet, who suggested Salva Rubio as the "ideal person" for the book. Rubio already had a fully developed comic book project about Gaudí in advanced stages, even with a script, but he agreed to adapt it into this hybrid format to reach a wider audience. "It's not meant to be a book that sits on the comic book shelves; it's a book for everyone," explains editor Jordi Puig. "We wanted to broaden audiences, to create an introduction to Gaudí's life and work that would be relevant for both visitors and Catalans," Puig adds.

I'm sure when some European creators tell you they'd like to find a wider audience to market their comics to, they're a lot more serious than some leftist USA creators have proven to be in the past decade. Good luck to the duo creating this biographical Spanish comic in finding said audience, which in Europe is bound to be a lot easier in its own way than in the USA.

What Klaus Janson thinks of Dark Knight Returns 4 decades on

CBR recently interviewed veteran artist Klaus Janson, who worked as an artist with Frank Miller on Dark Knight Returns, which is now 40 years old, and what he thinks of it. And there's also a few other subjects, like why comic art didn't or doesn't find the same reputation as some other types of mediums:

In terms of this new show, what is the most important thing that you hope to get across to an audience member with the choice of the artwork selected for the show?

I’ve always felt that the public at large has a mis-conception of comic books. There’s a lack of respect that hangs over what we do. Even at an early age when I really knew very little about what goes into creating a page, I couldn’t understand why some art deserved to hang on a wall while comic art didn’t achieve the same status. And now, when I have a better understanding of the complexity, versatility and possibilities of sequential narrative, I’m even more shocked. So if there’s anything I’d like to communicate to an audience, it’s the amount of thought, depth and learning that is required to create a page. The theories behind storytelling in comics is no less than the theories behind any other storytelling medium.

Also-I hope the level of fun that we all experience in the creation of a page is communicated to the viewer. There’s really no point in doing anything unless you enjoy it.

There can be no doubt the low opinion of comic art still prevails, and the only reason comicdom's supposedly looked at higher today is because of the dollar signs perceived by Hollywood. Based on which, public opinion hasn't changed at all. It's just that the view of the medium as something to exploit for money, not merit, has taken a sad form of precedence in the modern age.

As we're celebrating the 40th anniversary of the Dark Knight Returns, what is it like for a relatively short project to have such an oversized reaction from people decades later? You and Frank Miller, for instance, worked together for YEARS on Daredevil, and yet those four issues of The Dark Knight Returns get so much more attention. And your Daredevil run gets a LOT of attention, so we're not talking about some obscure work here. Your Daredevil run is HISTORIC, and yet Dark Knight Returns takes up so much of the oxygen in the room. How unusual of an experience is that?

It’s amazing that DKR casts such a long shadow! No one at the time predicted such longevity. I had the opportunity to reread DKR when we started doing Master Race with Andy Kubert and Brian Azzarello, and I confess-lol-I was really impressed with it. There’s so many brilliant pages that have so many layers of meaning. I find myself discovering new things every time I look at it. It’s a joy to be a part of it.

Daredevil has a real soft spot in my heart, btw. When we talk about evolution, that was one of the jobs (I think maybe Defenders with Sal Buscema was another) where I definitely evolved as an artist. It’s obvious to me that both Frank and I were really pushing ourselves and that last year on DD was just explosive.

On this, they have an interesting point. Miller's DD run may be well regarded, but if DKR gets far more gushy receptions, that's downright mystifying and inexplicable. What's so special about a story that seems to have been written for the precise purpose of making Batman look like a control freak, which was certainly the kind of personality forced upon characterization the following decade or so, to the point it led to situations where he'd be portrayed belittling his allies? One of the worst results this led to had to have been the leadup to the War Games/Crimes crossover, where Batman ends up belittling Stephanie Brown, who was pointlessly shoehorned into the Robin role. Speaking of which, around the same time that occurred, the father of the 3rd male Robin, Tim Drake, was put to death in Identity Crisis, and that curiously may have remained in place until now, as all the while Tim was subjected years later to shocking abuse, recalling this humiliation from the past several years. If Marv Wolfman, Tim's creator, never said said anything about it, how come?

DKR may not have been crafted for the sake of changing the Batman narrative as badly as occurred, that's rather obvious, and Miller, to his credit, didn't write his 1987 take on Bruce Wayne that way years before. Even so, the whole premise of DKR was overrated at best, and that the editors/publishers in later years would mandate such a direction is definitely disturbing. But there's also Miller's failure to address that mandate that's troubling, and if he never acknowledged it's head-shaking how DKR was influential for the wrong reasons, that's saying something.

Also interesting they bring up Azzarello, since he was an earlier example of a woke writer, recalling what his Wonder Woman run was like in the past 15 years. And Miller collaborated with him on one of his followups to DKR? How fascinating, and surely telling what's wrong with Miller's MO. What it indicates is that he remained a leftist for many years, and of course, by the end of the past decade, he all but stopped defending his 2011 GN Holy Terror. Of recent, based on what he put into his documentary, American Genius, this is why I've found him increasingly alienating, but I realize it's not necessarily surprising.

Too bad Janson doesn't have what it takes to address such issues, and CBR's interviewer unsurprisingly doesn't bring them up. I think Janson's a talented artist, possibly more so than Miller. But his persistence in upholding DKR as though it's the most important piece of literature on earth is appalling, and isn't improving the sad situation with comicdom, mainstream or otherwise.

French cartoonist encountered lawsuit by computer game company trying to bar his creation from publication, but it all ended fortunately

Recently, Instant Gaming News said a French cartoonist was having legal problems with a video game company that uses the same title as he did for a GN he's publishing, for their computer game:

The world of intellectual property can sometimes be ruthless. On X, the author of a comic book stated that he had received a letter from a lawyer sent by Sandfall Interactive with the aim of stopping the commercialization of his creation.

The problem lies in the name of the comic book, which is called L'Académie Clair-Obscur. However, its creator, Olivier Gay, stated on X that his project was pitched to the publisher Drakoo in 2019 and the contract was signed in March 2024. All of this happened well before the release of Clair Obscur: Expedition 33, which was in no way inspired by the comic book.

L'Académie Clair-Obscur tells the story of a peasant who enrolls in a school of magic. Clair-Obscur is a particular magical technique. Having "neither the energy nor the money to engage in a legal battle," the author will therefore change the name of the comic book. He also says he is a big fan of Sandfall Interactive and Clair Obscur: Expedition 33, which he has got the platinum for. He concludes by saying that it is "all the more disappointing to see them take legal action for no reason."

All of this is just an unfortunate coincidence that has real repercussions.

Obviously, this wasn't good it had to happen, and an unfortunate coincidence had to occur where the artist would have problems in how to title his story. But, the whole affair has luckily had a good ending, as the video game publisher agreed to withdraw their lawsuit:

Alerted by internet users, the Sandfall Interactive teams announced a few hours later that they wanted to find a solution. Finally, on Tuesday, March 10, 2026, the French studio confirmed that the lawsuit had been dropped. The developers mentioned in their statement that this action "does not reflect who we are" and now wish the comic book authors "every success."

I think this is relieving the artist won't have to go to all the trouble of retitling his story, nor will he have to face any lawsuits over what's a petty issue at best. So, good luck to him on what he's developing.

The 90th anniversary of a notable Scottish comic strip

The BBC looks at the history of Orr Wullie and the Broons, a notable comic strip from Scotland that debuted way back in 1936:

Jings! Scotland's favourite "spiky-haired loon" and best-loved family are celebrating their 90th anniversary - and looking good for it.

Oor Wullie and The Broons began creating chaos across the pages of DC Thomson's Sunday Post in March 1936.

Since then, Oor Wullie has spent nine decades perched on his famous bucket, while The Broons have portrayed the joys, chaos and heart of family life in 10 Glebe Street.

Now The Sunday Post is set to publish a commemorative supplement, featuring a national comics competition and guide on how to draw the spiky-haired boy in dungarees and hobnail boots.

Oor Wullie and The Broons were the creations of former DC Thomson managing editor Robert Low and sprung from the pen of illustrator Dudley Watkins.

The comic strips share tales of working-class life and community through mischief, family humour and their distinctive Scots language. [...]

The comic strip was loved by many for its portrayal of traditional home values - from Maw's wisdom and Paw's blustering to the antics of the bairns and romances and mishaps of Hen and Daphne. [...]

Thomas Hawkins, editor of The Sunday Post, said: "Very few fictional characters have lived as vividly in Scotland's imagination as Oor Wullie and The Broons.

"For 90 years they've mirrored Scotland back to itself - its humour, its grit and its sense of community and this anniversary is a chance to celebrate where they've come from, and the new stories still to be told.

"From boosting morale during the Second World War to putting a smile on readers' faces during the Covid pandemic, Oor Wullie and The Broons have been a reassuring constant in a world in flux."

What's impressive about a comic strip like this is that it's an important example of being proud of a country's national culture, and could doubtless make a great asset in an era where national cultures were massively damaged by political correctness. This is the sort of concept you may not have always seen in the USA, even in decades past, and it's surely something to learn from.

Colorist Tatjana Wood passes away at 99

National Today reports the veteran colorist Tatjana Wood, whose notable assignments in comicdom include Swamp Thing, passed away at nearly a century old:

Tatjana Wood, an acclaimed comic book colorist who worked on covers and interior pages for DC Comics in the 1970s and 80s, died on February 27 in Brooklyn at the age of 99. Wood was part of the creative teams behind critically acclaimed series like Swamp Thing, Camelot 3000, and Animal Man, and was known for her innovative and evocative color palettes that brought the comics to life.

Why it matters

Wood was a trailblazer in the comic book industry, helping to elevate the role of the colorist and demonstrating the immense impact color could have on the final artistic product. Her work on iconic DC Comics titles over a decade-long career cemented her legacy as one of the most influential and respected colorists in the medium's history.

She was also an important example of a woman in an early creative role. This reminds me how, in the past decade, there were MSM outlets spewing absurd propaganda that made it sound like women had only recently entered comicdom, which only has the effect of obscuring/erasing those who did in the past like Wood. And that was very disrespectful of women, as a result. Creators like Wood deserved far better.

Wood had some impressive assignments back in the day in the role of colorist, and she'll be missed.

Video game producer donates classic back issues to the Smithsonian

I previously wrote about what I thought was a questionable article by one of the founders of Riot Games, producer of League of Legends. Now, it looks like there is something good he's done that should serve as vital example in this day and age, as the Smithsonian magazine's announced Brandon Beck donated some classic back issues to the museum's archives:

Before Superman and Captain America became global symbols of heroism, joined cinematic universes and inspired Halloween costumes, they were just ink on cheap newsprint—bold, bright and bursting with possibility. Now, the comic book debuts of two of the world’s most iconic superheroes have found a permanent home at the Smithsonian’s National Museum of American History.

In an extraordinary acquisition, gifted by Brandon Beck, co-founder of the video game developer Riot Games, the museum has added Action Comics No. 1 and Captain America Comics No. 1 to its collection. These comic books were the public’s introduction to characters whose influence today spans movies, television, toys and the imaginations of several generations.

This is what collectors doing it for the sake of the speculator market should really be doing: donating those brilliant treasures to museums, and thankfully, here we're seeing a far better example set. Predictably, however, this article can't evade certain political biases:

Superman first leapt onto the page in 1938’s Action Comics No. 1, widely considered the beginning of the superhero genre. Created by writer Jerry Siegel and artist Joe Shuster, Superman—a caped defender of humanity who came to Earth from the doomed planet Krypton—embodied Depression-era yearnings for justice. Nearly 90 years of storytelling were launched from that first issue.

Captain America arrived in December 1940, with the issue dated March 1941, as global conflict intensified. Created by writer Joe Simon and artist Jack Kirby, the star-spangled super soldier debuted with an unforgettable image: delivering a crushing right hook to Adolf Hitler’s jaw, before the United States officially entered World War II in December 1941. The cover was more than sensational art—it was a bold political statement. When a scrawny Brooklyn volunteer named Steve Rogers was transformed by science into a symbol of national resolve, comic books became a vehicle for wartime morale and democratic ideals.

In an era where such values as democracy and morale are being shredded, that's certainly saying something, isn't it? Interesting how they argue that Cap's Golden Age debut was a political statement, but today, when somebody wants to take on issues like Islamic terrorism, suddenly it's inappropriate, and not bold at all. And should it really be described as a political statement? Maybe that's running the gauntlet of hijacking somebody else's creation for their own propaganda goals, and not considering that issues like totalitarianism is a serious topic that transcends mere politics? As though they couldn't give more suggestions their own claim is political, a more recent form of propaganda comes up:

“We use objects from popular culture to reflect and learn about the past, and the comics provide incredible insight into the era from which they come, including the relationships between the books’ Jewish American creators and the beginning of the World War II era, fascination with technological and scientific advancements, and representations of sacrifice and heroism during challenging times,” says Jentsch.

Taken together, the comics reflect societal anxieties and aspirations alike—whether in Superman’s immigrant origins or in Captain America’s wartime ethos. “The pivotal creators of these comics—Jerry Siegel, Joe Shuster, Joe Simon and Jack Kirby—were all first-generation Jewish Americans, anxious to make their marks in a country that had welcomed their parents,” says Paul Levitz, president of DC Comics from 2002 to 2009 and writer of many comics, including Superman, via email. “As someone who had the pleasure of knowing them all, I can confidently say that this recognition of their work in the most significant comic book acquisition in decades, would have been a great affirmation of the groundbreaking genre that they created.”

Another article where they fall back on the angering cliche of describing the Man of Steel as an "immigrant" instead of an otherworldly refugee from a destroyed planet. Based on that, it's hard to believe the Smithsonian's really serious about respecting the goals of the Golden Age creators, let alone their ethnic heritage and backgrounds. Considering how disinterested leftist ideologues like the Smithsonian's are in learning and reflecting on the past, what's the use of their acquiring the classic oldies when they may not do justice for their history? And even now, Levitz may not be fully qualified to speak in their name, considering he sold out to Islamic propagandists nearly 2 decades ago, and even indicated he thought abortion was okay years later. As a result, Levitz for one isn't offering the best affirmation of the acquisition.

The timing is apt. In recent decades, superhero narratives have dominated box office returns and streaming platforms, generating expansive programming and reshaping Hollywood economics. Yet the origins of these billion-dollar franchises remain humble: Stapled pages sold for a dime at neighborhood newsstands. Today some of those rare pages are among the most valuable printed materials in existence. Four years ago, Captain America’s first adventure sold for more than $3 million at auction. Last year, a copy of Superman No. 1 was auctioned for more than $9 million. In January, a copy of Action Comics No. 1 sold privately for $15 million.

And it doesn't bother them that outside the donation of Beck's back issues to their archives, there's speculators out there who've sold these back issues round and round, yet never, not once, donated to museums, let alone bought themselves wall paintings of the same characters? What isn't discussed by extension is whether that suggests the speculators are actually ashamed of the products, their desire to own them notwithstanding.

That 2 of the most famous superheroes' premiere issues have been acquired by a museum is a positive example in itself, and Beck deserves credit for setting a good one. But beyond that, there's no telling if an institution that's been pretty left-leaning will do enough to convince they really support the messages Superman and Cap were built upon back in the day, or that they don't wish to exploit the material for the sake of leftist propaganda, as their description of Superman suggests. Do they even know Simon was conservative? Will they ever even put Simon's illustration of Cap smashing Osama bin Laden on display in their future exhibitions? If not, then this purchase amounts to little, and won't be respecting the visions of the original creators.

The role of Detroit, Michigan in comicdom

NPR-Michigan Public wrote about what role a city like Detroit played in producing comics, and tabletop games:

When people think of Detroit, they might think of the city’s reputation for auto manufacturing or Motown music—but what about comic books? Two recent exhibits at the Detroit Historical Museum showcase the city’s lesser-known influence in comic books and tabletop gaming.

Curated by Billy Wall-Winkel, “Heroes vs. Villains” explores Detroit’s comic book history, showcasing more than 60 comic artists with ties to Michigan. The exhibit features artists like Jerry Bails, known as the “father of comic book fandom,” and Shel Dorf, the founder of San Diego Comic-Con, among others. A companion exhibit, “Worlds of Palladium,” profiles Detroit-based publisher Palladium Books, a pioneer in the tabletop roleplaying game community.

“We had folks here in Detroit that were just absolutely obsessed with science fiction and fantasy,” Wall-Winkel said. “We had folks that wanted just to convince everyone else that comics [were] a legitimate art form.”

Trouble is, anybody who thinks they succeeded in convincing they are a valid art form failed, if we look at this from an artistic perspective, and how the mainstream was devastated by political correctness. The only thing the specialists convinced anybody about was that comics make a great wellspring for extended media potential like movies and TV programs. And for a while, yes, that was a success. But by the turn of the decade, the fortunes of Marvel's movieverse began to recede under the weight of wokeness,

The exhibit also features the work of Detroit comic artists who worked for Marvel and DC, including Jim Starlin, Rich Buckler, Keith Pollard, and many more. Wall-Winkel’s personal favorite is writer Dwayne McDuffie, who pioneered minority representation in superhero comics through Milestone Media.

Be that as it may about McDuffie, something that disappoints me is that he was still quite a leftist, from what I know. But, if it matters, it's admittedly disgusting how Dan DiDio fired McDuffie over an Orwellian Thoughtcrime after the latter indicated he wasn't happy writing Justice League in the mid-2000s, because of horrible editorial mandates forced upon him. The worst part is that DiDio all but got away with doing so, and who in the mainstream holds him accountable for disrespecting a POC today over a petty issue? Let's not forget Frank Miller inexplicably hired him as an editor for a self-titled imprint Miller launched a few years back, and if it was a flop, DiDio's involvement alone is arguably why.

As noted, the article also brings up tabletop games like Dungeons & Dragons, and how such concepts have overlapped with comicdom:

Palladium Books was founded in 1981 by Detroit artist Kevin Siembieda, a time when tabletop gaming surged in popularity. The publisher is most known for tabletop games like Rifts or Teenage Mutant Ninja Turtles and Other Strangeness, which was the first licensed product of Teenage Mutant Ninja Turtles.

Tabletop games like Dungeons & Dragons allow players to act out fantasy adventures together, fighting monsters while playing as their own original characters. Dungeons & Dragons, in particular, has been having a mainstream moment after featuring heavily in the Netflix series “Stranger Things,” as well as the success of its own 2023 feature film. According to Wall-Winkel, fans of video games often turn to tabletop gaming as a more expansive way to explore fantasy and science fiction worlds.

Predictably, they won't get into how the franchise also encountered political correctness and was watered down in the past decade for the sake of leftist propaganda like "inclusivity", as though it were never there, and some of the silliest things about this direction are that they acted like the Drows, Orcs and goodness knows what other anthropomorphic villains in the franchise literally had to see positive depictions, as though they weren't there to begin with. D&D, for all we know, will probably be brought down hard in time by all this wokeism.

Without a doubt, Detroit's got plenty of interesting comics contributors abound who could make good subjects for this exhibition. But, if there's one whom I hope they haven't gone out of their way to highlight, it's Geoff Johns, whose writings in mainstream in the past quarter century were so inexcusably crude and insufferable, they'd make a very humiliating addition to the exhibition as a result. From what I can tell, Johns doesn't seem to be on the list, and if he's absent, that's fortunate. No need to sully the exhibition with the work of somebody as blatant as he proved to be in the long run.

That told, it's still a shame there's so much more an article like this could've brought up, and predictably, they wouldn't because it doesn't fit the superficial, PC narrative they follow.

Dark Horse's original founder no longer retains his position

The Oregonian reported that Mike Richardson, the founder of Dark Horse in the mid-1980s, and sold ownership 5 years ago, is no longer their CEO:

Publisher and Producer Mike Richardson is no longer serving as chief executive officer of Dark Horse Comics, the media enterprise he started from a single comic book store in Bend, Oregon.

Embracer, the Swedish video game holding corporation that acquired Dark Horse in 2022, has announced gaming executive Jay Komas as interim chief executive officer. Richardson had continued as chief executive officer following the acquisition.

Embracer declared the leadership transition in a statement that went out to business partners and creators according to Popverse, a pop culture news site.

“As part of our long-term strategy to better align Dark Horse within a more interconnected and forward-thinking group structure, we are enacting modifications to modernize the enterprise and enhance collaboration across publishing, gaming, film, merchandise, and other essential sectors,” Embracer stated in the announcement.

Well even before this, Dark Horse was already showing signs of deterioration in the past decade, from political correctness, and they once employed an editor named Scott Allie who was accused of sexual assault, but it took a while until they finally threw him out. And he was quite a wokester, based on what politics he emphasized, no doubt for virtue signaling to obscure his real characteristics. So Dark Horse isn't so clean, and lurching towards Orwellian tactics in writing/art does nothing to improve the situation. I think Richardson did build up an admirable business, but his failure to act against Allie back in the day dampens that impact.

He launched the publishing venture in 1986 with a focus on safeguarding creators’ rights. The move allowed him to secure some of the hottest comic book talent of that era. Dark Horse became home to creators including Frank Miller, who published “Sin City” and ”300," and Mike Mignola, who developed the Hellboy universe in the early ’90s.

The company also published licensed comics including “Alien” and “Predator,” even merging the two science fiction franchises into an “Alien vs. Predator” comic book series that eventually transitioned to the big screen in the early 2000s. [...]

Under Richardson, Dark Horse pioneered initiatives to adapt its comics for Hollywood while remaining involved as producers. Early films included “The Mask,” “Timecop,” “Dr. Giggles” and “Barb Wire.” “Hellboy” and “Sin City” both became successful movie franchises as well. Richardson most recently served as executive producer on “The Umbrella Academy,” Netflix’s adaptation of Gerard Way’s Dark Horse comic.

There are some gems that came from Dark Horse, I don't deny that. But I think a problem with a company employing the word "dark" in their name is that that's what they wound up emphasizing, if we go by what Frank Miller and Mike Mignola's GN series are about, along with the 2 aforementioned horror-themed movie franchises. But regarding creators' rights, did this ever extend to publishing agreements even with writers whose politics Richardson didn't agree with? If Richarson and company vehemently refused to publish, say, Mike Baron's Private American GN, then that's a very serious mistake right there, and exposes just the beginning of what's wrong with their MO. If Richardson and company were unwilling to show the courage to platform a product like that and prove they won't let "controversy" get in the way of something building on a right-wing angle, that only compounds what went wrong when they failed to fire Allie for his offensive behavior.

As for Hellboy and Sin City becoming "successful" film franchises, the former may have had 4 films, but the latter only 2, and the second was a failure. Also, IIRC, it was co-produced by the Weinstein Company, which collapsed out of business mighty fast after Harvey W's sexual abuse scandal came to light. And not all of DH's movie ventures were successful, recalling Barb Wire was a failure, its shoestring budget at the time notwithstanding.

And then Richardson goes so far as to sell off his company, suggesting it wasn't really the huge success they claim it to be. Why else sell it if it were?

There are decent items they've published, to be sure. They once, amazingly enough, reprinted Baron and Steve Rude's Nexus from 1981-97. But like many other publishers run by apparently left-leaning ideologues, they had some serious flaws that don't look likely to be smoothed over now that Richardson's on his way out. And who knows, maybe the time's come for some creators who've worked with them to move shop.